Much beautiful carved work of the seventeenth century survives. Vilvorde Church has thirty-six upper and thirty-two lower oak stalls carved originally in 1663 for the priory of Groenendael; this is a magnificent specimen of the carver’s art. There is also lovely woodcarving of the middle of the century in St. Michael’s, Louvain. The Church of St. Walburge, Furnes, is also rich in carved oak. On the pulpit is a figure of St. John writing the Apocalypse; the upper part is supported by two palms, and a rock with an eagle. The choir stalls are particularly fine. The Ostend parish church has a fine pulpit carved in 1674. The Church of St. Anne in Bruges is rich in carved work of this period. The choir stalls of oak were splendidly carved in the Renaissance style by Jean Schockaert and Fr. Schaepelinck in 1664. The oak organ case was carved in 1685 by Jacques Vanden Eynde, who was also the organist at Ypres. Fine bas-reliefs in the nave were executed by Martin Moenaert in 1673 and the ornate confessionals by Jan de Sangher in 1699. There is also a handsome communion bench made by an unknown carver in 1670, which is decorated with the busts of the four Evangelists and four Doctors of the Church with bas-relief panels of the Virgin, Joseph, St. Anne, St. Joachim, the Pascal Lamb and the Eucharist ornamented with bunches of grapes and garlands of wheat. Carving was by no means confined to the churches: those who could afford it still beautified the furniture of castle and hall with the work of the chisel. Chests or _bahuts_, cabinets, _armoires_, tables, chairs and the old “sideboards,” known in England in Jacobean days as “court cupboards,” and in Flanders as _credences_ or “_buffet à deux corps_,” were as highly ornamented with carving in the late Renaissance style as they were with Gothic ornament during the fifteenth century. During the Louis XIII period, the more important pieces of furniture usually assumed the forms and lines of Classic architecture. A typical _bahut_ of this period (_see_ Plate LVII), owes its interest chiefly to its architectural decorations. The fluted columns, though somewhat squat, which adorn the divisions of the front, produce a pleasing effect; the mouldings are strongly accented and their ornamentations are bold and in fine style. One can easily understand that this chest would not be out of place in any late Renaissance apartment, but would contribute to the decorative effect of the whole. The two side niches representing the two virtues contain statuettes—Prudence and Strength. The central panel tells the story of Judith and Holofernes with a directness and simplicity worthy of a Botticelli.